When requested to submit this script, I was not so sure from which angle I should
engage the piece. I have known Mr. Levi Yakubu since 1979. I virtually lived with
him in those early days; on and off for over 3-4 years, sharing studio life. I was there
when he got married and had his first child, a girl (now married with her own family).
So I choose to engage this from this early formative period when it all began for this
a charismatic and iconic artist.
My friendship and relationship sparked off innocuously on three platforms; first,
on a student/lecturer level which then waxed fraternally by our faith, and finally,
the third that eventually escalated to a mentor/mentee acquaintance that has thrived
till date. Levi is a man of such an emblematic oeuvre of exceptional focus and grit.
This determination has seen him conquering several professional mountains and scaling
numerous artistic challenges. Depending on the prism you view him; Levi can be seen as
a man of many parts.
Something I admired so much with such undeniable proof is his ability to simplify hard
work. His work mode is permanently activated. He is also a man of piety and passion.
He argues in support of the fundamental belief that art must consistently uphold high
aesthetic quality and significance that is essential to liberal education.
While defending the right of an artist treading the paths of engineering and mathematics
to solve artistic challenges; I recall his postulation on the mathematical calculations
applied by the artists in the construction of the pyramids of Egypt and the monstrous
sphinxes. Helen Gardner is a popular refrain:
“We consider artworks with a view toward their purpose and meaning in the society
that produced them at the time at which they were produced.”
He knew his onions and had no difficulty sharing knowledge.
If he manages to cross your path, he acknowledges you with a charming and disarming
smile.
The Teacher
As a 17 years old lad I first met him when he resumed in 1979 to set up the Ceramics
section of the then Murtala College of Arts Science/Technology (MUCAST) now
Benue Polytechnic, Ugbokolo, and the School of Basic Studies, (Now Centre for
Advanced and Professional Studies) Makurdi, Benue State. From a distance, I saw a
lanky member of staff who carried himself with enviable simplicity and covetable
calmness. He was never assertive, but had a tremendous way to stir interest in his area
of specialization; Ceramics. Students laughed heartily in an atmosphere of relaxed
conviviality during his class. He deconstructed his subject that saw the scientific aspect
of ceramics explained in simplified terminology. He was never crossed nor offended but
responded with such fatherly maturity to students who deliberately attempted to ride the
negative rail. He had words of encouragement for even the worst draughtsman. He
challenged his students to be artistically adventurous and explore their creative
proclivities. He made all feel like kings and was patient to wait for first-timers to master
the potter’s wheel or any complex ceramics machinery. As an Ordinary National Diploma
[OND] 1 (one) student at this time, I was too scared to hold a pencil during drawing
classes. Mr. Yakubu was both extremely understanding and tolerant of this group. His
ceramics class was both scintillating and inviting. The proof was in the number of
students choosing to specialize in it during their Higher National Diploma [HND]
specialization period.
He introduced my class to several names like the potter’s wheel, kaolin, clay extruder,
kiln production, and its technical designs among the very many ceramics tools. By the
time I was done with the OND program in the second year and desperate to know if I
sailed to the HND class, he slyly congratulated me for coming out tops with a Distinction.
I did not miss the sparkle of a satisfied ‘teacher’ in his eyes. The transition from being
unable to steady a pencil in a drawing class to coming out top in a class of about 15 was
mind-blowing. But the real deal was the invitation I received to visit his personal studio.
The Man
Haven distinguished myself I recall being invited along with the young man who came
second (also with a Distinction) to join in a visit to his studio. This was a phase of a more
potent encounter than what I had experienced from afar. I found a man who was
unpretentious in his spirituality and religious obligations. I realize that the strength of Mr.
Levi Yakubu is his principled Christian upbringing. He lived it totally. I found a man of
such high moral standards who brooks no lowering of his moral compass.
I recall being in a car ride with him from the present legislative quarters in Makurdi.
We regularly go hunting as he had an Alpine Shooter Sako Finnlight
rifle or All-purpose All-Star Weatherby Vanguard Series 2 [not too sure which].
Now, this near accurate rifle was neatly inserted between the two front passenger’s seats.
At some police road checkpoint, we encountered a stop and search. After an unnecessarily
long delay, Levi calmly called the officer’s attention to the rifle tucked away between the
seats rather than the focus on the ceramics work in the boot of the vehicle. He pointedly
told the office “If anything is “illegal” the rifle is what you should be bothered about.
The officer felt disarmed and shaken by this honesty and forthrightness. He then
responded with a coy friendliness as he demanded a bribe. Levi told him point-blank to
either arrest him or let him continue his hunting trip as “I will not give you any bribe and
will not start now”.
I was stunned.
He is a man of such an impeccable demeanor.
For the number of years I live with him, both on and off, the house had over 15-20
extended relatives who visited and by the rules of the African culture must be well fed.
He literally was carrying the burden of training most of these relatives in the higher
institutions. The largeness of his heart to other fellows is alarming. As a studio hand and
in his absence, I recall on several occasions when a list of relatives and their school
fees and pocket monies are left in my care for onward transmission if he was out of town.
It was a mini-community where everyone knew not to trifle with his religious parameters
nor compromise their faith. Morning devotions were nothing else, but what it is. This was
mandatory. As a young student who searched for answers to living the high moral road.
I encountered from my relationship with Mr. Yakubu that this is not only tenable but
practicable.
The Holistic Artist
The studio time with a group of over 3-5 artists at any given time was exhilarating and
compulsively infectious. Commissioned projects were executed by his studio in public
art ranging from sculptures to mosaics and murals. Corporate commissions in screen
printing, portraitures, collages, and pointillism were just the tip of the iceberg. His studio
was as engaging and as demanding. Artists and studios help virtually spent holidays in
the studios. But the most reminiscent is the master who worked harder than his entire
team put together. Levi is the typical Bohemian artist; totally holistic, as it were.
He moved from one project seamlessly to another. Severally projects were handled
simultaneously.
Benue State during this era had few public artists.
His adroitness in forms malleability is second to none as it echoes vividly Vincent Van
Gogh words “If one is master of one thing and understands one thing well, one has at the
same time, insight into and understanding of many things.” The studio experienced
streams of commission requests flooding in. Completed works were finished, delivered,
and many times installed with the same dextrous proficiency.
My photography romance is a skill I developed during this period. Levi made hard work
seem like child’s play. A multitasker, for want of the proper appellation! He is able to
traverse the landscape to cover events in photography, he then zooms into the darkroom
and develops them. Once done, he sets the finished photographs for critical analysis and
engaging scholarly debates. By evenings everyone was back in the studio putting finishes
to ongoing projects.
At other times, Levi exploits his artistic license to retouch and paint automobiles. Such
dingy and faded paint works on cars are visited with his professional zeal that turns them
out as new as if they have been factory laid. The studio was well equipped with masking
tapes, newspapers for masking off, an air compressor and spray gun, paint thinners, face
masks, safety glasses, undercoat, topcoat acrylic or enamel paint, and clear-coat lacquer
ubiquitously in situ. Name it, Levi’s studio reeked of sweat, sweat, and sweat. He goes
through the whole sandpapering, polishing, and spraying with professional dexterity.
We sometimes jocularly wondered if blood truly ran in his veins. He was the typical
“never say die” overachiever. Whatever he touches turns to gold. This attitude to
unpretentious hard work is what I may have copied from him. In my attempt to demystify
him, I subconsciously found myself treading his path to his alma mater to unravel
Ahmadu Bello University's dominant art enigma.
Poetry & Passion
I have over the years watched as he continues to gather awards. His works are in major
collections in a culture burdened with a very low appreciation for this genre. I foresee an
explosion in appreciation for his works in the tertiary art auction market that has gained
traction within these shores in the recent past.
“The $27.7 million paid for a fourteenth century, blue-and-white baluster Guan (jar)
Yuan dynasty (1279-1368), by the London dealer, Eskenazi, in New York in March 2006,
demonstrates, ‘that a well-researched item of exceptional quality and provenance will reach its
full potential in the current market place’ ” (Hearnden 2007: 233)
While the majority continues to see the works as utilitarian products, the truth is that these
are highly collectible items meant only for the discerning collector.
These works exude reverential harmony of forms, content, and uncouth decorative art of
hazy hues. The glazed finishes elegantly reveal the adept use of lavender with opaque
bluish-green stoneware bodies. Monochromes are matted and crackled to achieve balance
and forms. Others are globular and treated texturally to achieve deliberate coarseness.
For those who are artistically inclined, his ceramic pieces are received with such dignified
phenomenal accolades and reverence in better climes of the world. They reflect the
tireless details of unmitigated accuracy of a painstaking draughtsman.
Chief Joe Musa
Fmr. Director-General
National Gallery of Art
August 2, 2017
WORKS CITED:
Hearnden, J. (2007) “Millers Price Guide 2007”, Vol. XXVIII, London: Octopus. As quoted by
Iain Robertson and Derrick Chong “The Art Business” 2008. Page 43. Routledge
Kliener, Fred S. & Christin J. Mamiya (Ed) “Gardner’s Art Through The Ages: The Western
Perspectives” 2006. PREFACE Page xv. Thomson Wadsworth. US.
The Pregnant Woman, themed: "I look up to the hills, from where my help comes." Vitrified terracotta (1200⁰C) Height: 1ft 6in. Width: 1ft 10in
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"Adam and Eve after the fall." Vitrified terracotta (1200⁰C) Height: 1ft 5in. Width: 1ft. |
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"Lizard on a tree stump." Glazed Stoneware Length: 2ft. Frontal view |
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"Lizard on a tree stump." Glazed Stoneware Length: 2ft.Back View |
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"Lizard on a tree stump." Glazed Stoneware Length: 2ft. Side View |
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"The BENUE QUEEN" Flower Vase. Glazed Stoneware (1200⁰C) Height: 2ft. Middle section diameter 1ft. |
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